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Course Criteria
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4.00 Credits
not offered 2008-09 A course in the history and development of Western drama from the Middle Ages through the 18th century. Dramatists to be studied may include the Wakefield Master, Marlowe, Shakespeare, Jonson, Lope de Vega, Molière, Racine, Congreve, Beaumarchais, and Sheridan. May be elected as World Literature 371 or Theatre 371. Offered in alternate years.
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4.00 Credits
not offered 2008-09 A study of the directions modern drama has taken from the 19th century to the present. Dramatists to be studied may include Büchner, Ibsen, Strindberg, Chekhov, Shaw, Pirandello, O'Neill, Brecht, and Pinter. May be elected as World Literature 372 or Theatre 372. Offered in alternate years.
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4.00 Credits
not offered 2008-09 This course introduces students to arguments about the shaping, the effects, and the interpretation of literature. Themes for the course will vary, but among the questions we will consistently examine are the following: Through what kinds of assumptions is literature read How do characters in literary texts themselves read How do these texts interpret what they represent We will devote approximately equal time to the study of theoretical texts and to reading literary works through theoretical lenses. Writers may include Plato, Aristotle, Nietzsche, Pater, Foucault, Derrida, Said, and Deleuze. Offered in alternate years.
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4.00 Credits
not offered 2008-09 This course will examine texts from former colonies in South Asia, Africa, the Middle East, the Caribbean, and Australia. We will study how these works negotiate the past and present, and how they explore multiple forms and conditions of colonialism and postcolonialism. Discussions of primary works will be supplemented with readings from theoretical and critical texts. Writers may include Kipling, Tagore, Conrad, Manto, Emecheta, Carey, Gordimer, and Rushdie. Offered in alternate years. Distribution area: humanities or alternative voices.
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4.00 Credits
Studies of English or American literature and language or literary craft generally not considered in other courses offered by the department. The specif ic material will vary from semester to semester. The current offerings follow.
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3.00 - 4.00 Credits
This is a course about historical events, cultural forces, and literary expression. Looking at various literary forms - poems, essays and speeches, examples of "the new journalism," short stories, and novels - we'll ask: How do writers in the 1960s convey and contribute to the political, social, cultural, and artistic ferment of the era How do battles about civil rights, women's rights, the war in Vietnam, and the rise of the "counter-culture" echo within or behind the pages of their texts What stylistic experiments reflect the turmoil, hope, and despair of the decade Music, visual art, film excerpts, and other assorted cultural debris may occasionally appear. Authors will include, among others, Donald Barthelme, Joseph Heller, Denise Levertov, Robert Lowell, Adrienne Rich, Hunter Thompson, Kurt Vonnegut, Jr., Alice Walker, Tom
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3.00 - 4.00 Credits
A study of the development of English as a language from Anglo-Saxon to the present. The course concentrates on possible reasons for the development by considering historical, cultural, and psychological effects of apparently permanent importance to the language. Early stages of the language will be considered primarily as they clarify the main characteristics of present-day English.
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3.00 - 4.00 Credits
This course examines representations of women in law and literature, considering how women's political status and social roles have influenced legal and literary accounts of their behavior. Focusing on several American legal cases involving female defendants, students will evaluate how the original legal "story of what happened" becomes multiple stories as it is repeated in different narrative genres, including literary texts, media accounts, and film. How are legal narratives related to other forms of narrative in various historical contexts Our analysis will be directed toward developing critical interpretations of these particular legal and literary stories, as well as more generally toward a broader understanding of how gender, power, and narrativity work together in American culture. Readings will include trial accounts from the 17th to 20th centuries, as well as literary texts by Nathaniel Hawthorne, Harriet Jacobs, Susan Glaspell, and Arthur Miller
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3.00 Credits
How did a nation associated with sublime scenery, compelling music, Calvinism, and a colorful history become the setting of a novel as dark and disturbed as Irvine Welsh's Trainspotting This course will address this question by examining the history of the Scottish novel. In the first half of the course, we will focus on Scottish fiction between the Anglo-Scottish Union in 1707 and the Victorian era, paying particular attention to themes of tourism, religion, the supernatural, sentiment, and the disturbed psyche. In the second half of the course, we will attend to the way the 20th-century novel reformulates national identity to include themes of fascism, drug use, the monstrous, cannibalism, and cadavers. Authors may include: Tobias Smollett, Henry Mackenzie, Walter Scott, James Hogg, Robert Louis Stevenson, Muriel Spark, Alasdair Gray, and Irvine Welsh.
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3.00 Credits
This course will examine the relationship between African American literature and urban spaces in the 20th century. While the majority of the 19th-century African American population lived in the South, by World War I the "Great Migration" northward had begun. How did this shift from rural South to industrial North affect African American literature and culture How did popular images of plantation living evolve to the point where "urban" is now euphemistic for "black" when we speak of music or fashion The assigned works tackle issues such as segregation and "the ghetto," the alienation of city living, the influence of "the city" on music, sexuality, and art. Works may include James Wheldon Johnson, Nella Larsen, Ralph Ellison, Gwendolyn Brooks, Colson White head, and The Wire. Distribution area: humanities or alternative
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